Did Shore compose any material for the new scenes this time, or are they few--and short--enough not to need score? I guess re-tracking is also a possibility...

Many of the extended edition bits were in the cut Shore originally scored, so material for those scenes was already recorded during the original sessions (some if it even appeared on the soundtrack album). There is a small amount of tracking, but nothing I find too obtrusive. The biggest one you'll hear is a reuse of "Concerning Hobbits" during the new Hobbiton market scene -- but it fits the tone of the scene like a glove, and I hear no harsh edits.

Did Shore compose any material for the new scenes this time, or are they few--and short--enough not to need score? I guess re-tracking is also a possibility...

Many of the extended edition bits were in the cut Shore originally scored, so material for those scenes was already recorded during the original sessions (some if it even appeared on the soundtrack album). There is a small amount of tracking, but nothing I find too obtrusive. The biggest one you'll hear is a reuse of "Concerning Hobbits" during the new Hobbiton market scene -- but it fits the tone of the scene like a glove, and I hear no harsh edits.

Thanks; glad to hear there aren't any jarring edits.

For some reason, I also thought there were different recording sessions for the extra music in the extended versions of The Lord of The Rings films, but that would seem a lot more costly and impractical than just scoring a longer cut, then having scenes--and music--trimmed when the edit is tightened. ...Unless Shore spotted versions pretty close to the theatrical cuts...and The LOTRs Extended Editions were an afterthought, where they'd probably have to do some more recording.

This time, with everyone probably thinking about the possibility of more 'Hobbit' somewhere down the road, having Shore score anything that could conceivably be used at some point would have them covered, however the different versions shaped up in editing.

For some reason, I also thought there were different recording sessions for the extra music in the extended versions of The Lord of The Rings films...

There WERE additional recordings done for the LOTR EEs. (Although here, too, Shore did originally score some material for the initial cut that was later removed for the theatrical editions -- the Mouth of Sauron scene jumps to mind.) But those films were also considerably more expanded than AUJ, and the production as a whole was a different animal.

Smaug: where you are "out of place" is perpetuating baseless theories like Shore is "just writing the themes." Pope's involvement is easily explained by the very different logistical situation on this new trilogy, without resorting to rumor-mongering. It's not necessarily wrong to take note of the differences between the album of AN UNEXPECTED JOURNEY and the film, but there's no big mystery or conspiracy behind it. Peter Jackson has spoken about the reuse of thematic material on AN UNEXPECTED JOURNEY -- something the filmmakers ultimately felt was necessary, and which Shore was able to deliver with his customary professionalism and skill. Jackson has also said that Shore has had more creative freedom on THE DESOLATION OF SMAUG. Doug Adams has reported that Shore is in good health and wrote every single cue in full. These are the facts. Speculation about creative tension is human, I suppose -- and given KONG, I can understand that fans get nervous. But we should try to resist the excesses of wild theorizing.

"Doug has no reason not to be straightforward about things" What are you talking about? Shore published his book!

This is not some grand conspiracy, this is film music which the general public doesn't care about in the least. I also know from people involved that Hobbit 1 was a clusterf@#k and we can hear it in the final film. Especially with the history of the huge success of LOTR, this doesn't make sense. This is the vehicle that made him famous. It's his Godfather, his Star Wars. It's like John Williams is doing Star Wars but not going to be attending the recording sessions because of "scheduling conflicts."

Shore loves to talk about doing his own orchestrations and conducting. All of a sudden it's not important ("It's a technician's job"). I believe Tolkien is so important to him and I think this straightforward "Music by Howard Shore" is a compromise. He writes the themes and that's it. A compromise between the great success of LORT and a relationship that since King Kong just doesn't really work.

Hi Richard,

I have a copy of Shore's handwritten Smaug sketches for every composition in the score sitting next to me on the desk at the moment. Themes and full cues, the whole shooting match. Conspiracy theories--no matter how large or small--hold no water here.

You are, of course, free to assume I'm being dishonest ... though I'm not sure why I would be. The LOTR book is a done deal and I get no royalties from The Hobbit at all. In fact, my only Hobbit deals have been with WaterTower, not Shore, and they're all upfront, one-time-only payments.

My Smaug invoices are already done. The end; I get nothing more.

I'm not sure why I'm posting my financial info on a film music message board, but hey, why not ... At any rate, I'm in no one's pocket.

Peace,

Doug Adams

Hi Doug,

I am new to this board but not to your name. Two years ago my daughter presented me with your beautiful book "The Music of The Lord of the Rings Films: A Comprehensive Account of Howard Shore's Scores (Book and Rarities CD)" as a Christmas gift. I treasure it. I just want to congratulate you on the beautiful book and cd. When I saw your name in this thread I double-checked my book and did a bit of web research and realized you were the author. Just wanted to express my appreciation.